One Little Indian Page #4

Synopsis: On the run from the Cavalry, a man tries to disappear while accompanied by two camels and a runaway boy. His escape is made harder when he meets a widow and her daughter who may turn him in.
Director(s): Bernard McEveety
Production: Walt Disney Productions
 
IMDB:
6.6
G
Year:
1973
90 min
72 Views


for your help, ma'am.

Giddap! Come on!

Mark!

Martha! Martha!

Martha, it's time to go!

Mama, I can't find mark

anywhere.

I know, but you've been looking

and calling for a long time now,

and we really have to go now.

That's right, ma'am.

We better hustle. You're

gonna miss your stage.

We just can't leave mark, mama.

I don't want to leave him any

more than you do, Martha,

but he must be Miles away

from here by now.

He's not. He's still here.

I know he is.

Martha, he'll find Mr. Keyes.

I'm sure he will.

Now, come on.

Now, up we go.

- Giddap!

- Mark! Mark!

Good-bye, mark!

Bye!

Bye, mark!

Bye!

Rosie, ho! Ho!

Rosie, you wanna be the only

hopeless camel in the world,

you just keep that up.

Coosh! Coosh! Coosh! Coosh!

Steady now. Easy, girl. Ho.

Ho, girl.

Up, Rosie. Up.

Hyah! Hup! Hup! Hyah!

Ho.

Well, Rosie,

it's the end of the line.

Whoa, Rosie.

All right, Rosie,

hightail it out of here.

Rosie, it's what you've

always wanted. Now, go.

Rosie, don't go gettin'

sentimental on me now.

I haven't got that much time.

Now get outta here. Go on.

All right, Rosie!

Hyah, hyah, hyah!

Camel. This way.

Looks like we're driving him

down towards the desert.

Come, thirsty. This way.

Carbolic?

Sure bet you didn't expect

him to trap himself...

In no box canyon, huh, sarge?

Shut up, Dixon. You just be ready

when he flushes him out of there.

What'd you see from the rim?

He's not there.

What do you mean, he's not there?

Where is he?

We follow empty camel.

Follow empty camel.

Dixon, go get that camel.

We're headin' back. What do we

need that old camel for, sarge?

Because we haven't got

but four horses.

Or would you rather

ride double with keyes?

Move!

Tell schrader he can

quit lookin' for keyes.

Help! Ohh!

Rope him, you dumb John!

Come back!

Hold on, Dixon!

Whoa! Whoa!

Help us, schrader! Stop!

Whoa! Stop! Whoa! Whoa! Whoa!

Ohh!

I wish I'd have let you

rode double with keyes.

All I was tryin' to do

was find you a family.

That's nothing

to get sore about.

I only promised to take you as

far as the mountains, remember?

You left me.

Sure, I left you.

I left you with Mrs. Mciver

so you could live regular,

maybe go to school and make

somethin' out of yourself.

I'll fix you somethin' to eat.

Not hungry.

Why didn't you

go with 'em, mark?

I go to blue feather.

You take me now?

Now, you know I can't do that,

not with that patrol

still on my tail.

I'd lose too many Miles.

I got good idea, Clint.

Yeah? What kind of idea?

You take me to Cheyenne. They hide you.

They my friends.

The Cheyenne hide me?

Kid, neither one of us could get within

spittin' distance of that reservation.

Set one foot inside that fort,

and they'd grab you just like

they did at fort dorado.

To them, you're...

you're just a white captive

kidnapped by Indians,

and to the Indians, you're nothin'

but trouble, and they know it.

Now, mark,

uh, blue feather...

blue feather won't take you

back because she can't.

You gotta understand that.

Son, I...

I'm sorry.

I'm sorry. I know it's tough.

It's not like

you're gonna be alone.

You'll be with me.

I'm not gonna leave you here.

I know I left you at the farm,

but I explained about that.

We always got along.

We're partners, ain't we?

'Spose we can go on down

to Mexico together.

We can make it down there.

No.

You don't want me.

I go to Cheyenne.

Now, wait a minute, kid.

I'm tired of arguing with you.

All right,

you want your Indians?

I'll show you how to get there,

and I hope you like

what you get.

Here's our Mountain right here.

You go on the other side of it.

When you get over there,

you go north three, four days...

Till you hit the Canadian river, and

it's gonna be high this time of year.

When you hit it, you turn east,

maybe seven, eight days.

And right here

is your reservation,

long knives and all.

We got you surrounded, keyes!

Rosie.

Hold it, keyes!

All right, corporal.

This time... I give the party.

Troopers, fall in!

Dress right! Dress!

Ready, front!

Parade... dress!

Whoa! Ten-hut!

Take 'em out, sergeant.

Forward!

Welcome back, sir.

How'd the maneuvers go?

Lieutenant, what is that thing

doing on my parade ground?

It's a gallows, sir.

What I want to know,

lieutenant,

is why is it there and who

authorized its construction.

A patrol under sergeant...

Raines brought in a prisoner. He

has orders from general crook...

well, lieutenant, you bring that

sergeant and his patrol to my office.

Yes, sir. And on the

double, lieutenant!

What are you, sergeant, some

sort of traveling hangman?

No, sir. My orders are to capture

the prisoner and execute him,

signed by general crook, sir.

Your orders also refer to the usual

courtesies extended a commanding officer.

I didn't know when

you'd be back, sir.

Nobody here could tell me.

You simply took over

my command.

No, sir. I was just

following my orders.

Where is the prisoner?

- I can get him for you, sir.

- Sergeant!

When I need your help,

I'll tell you.

I asked you where he is.

He's in the guardhouse, sir.

Have the prisoner

brought in here.

You're corporal Clinton keyes?

Yes, sir.

You took part in McKenzie's raid

on dull knife's village? Yes, sir.

You were convicted of

mutiny and desertion.

That's all it says here.

I'd like to know what happened.

There were 173 lodges

in dull knife's village.

We destroyed them all.

Man next to me started

shooting the women,

so I hit him with my rifle.

When you say a man,

you mean another trooper?

Yes, sir. Then what did you do?

I tried to help the braves

with their families.

Against your officers

and your fellow troopers?

If you mean did I

shoot at them, no, sir.

- But you did mutiny.

- That's what they called it.

Corporal, you seem to feel that each man

has a right to consult his conscience...

And decide which orders

he will obey...

And which he will disobey.

Take him out.

Sergeant, I want this execution

finished as quickly as possible.

There will be no formalities.

No members of my command will

participate in any way whatsoever.

You are solely responsible,

sergeant. You understand?

- Sir, my orders state that...

- Dismissed, sergeant.

I'm, uh, glad you asked for me,

but I wanted you to know that

I'd have come in any event.

Uh, now, is there anything...

I know all that, reverend.

Uh, reverend,

do you remember a boy

that was brought here...

With some Cheyenne

by the name of mark?

Mark? Yes, I do.

Is he all right? Where is he?

Well, that's what I don't know.

By now he should be

halfway across the desert,

if he's still heading

towards the reservation.

- Looking for blue feather.

- Yeah.

How do you know about the boy?

Oh, I ran onto him

north of here.

We were sort of partners for a

while till we had a little set-to.

I guess I sort of forgot which one was

the man and which one was the boy.

Chaplain, what I

want to ask is a favor.

Anything, if I can.

Well, if the boy makes it

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Harry Spalding

Harry Spalding (1913-2008) was an American writer best known for the films he wrote for Robert L. Lippert and director Maury Dexter. He later worked for the Walt Disney Company.He sometimes wrote under the name "Henry Cross". more…

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Submitted on August 05, 2018

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